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FELTON, RAU & ^BLEY'S 



ThINING va 



Coach Painting: 



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HILA, 



HELTON, RAU 4 SIBLEY'S 



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CONTAINING 



VALUABLE HINTS 



ON 



Coach Painting and Varnishing. 



.1^ [^ 18': M 

PHILADELPHIA: 



1873. 

Carriage Monthly Print. 



FELTON, RAU & SIBLEY, 



"5 

MANUFACTURERS OF ^ ^ ^^ 



SUPERIOR COACH VARNISHES 



AND 



-j.i^iF'jLisrs, 



AND IMPORTERS AND DEALERS IN 

IFIITE] G03L,0I?.S 

ESPECIALLY ADAPTED TO 

COACH AND CARRIAGE PAINTING, 

im, tm ^ MQ Mqmwb WuwMwm gr. 



PHILADELPHIA. 



Orders by Mail Carefully and Promptly Filled, 



I^K/EIFJLGE. 



N presenting this little work to those with whom 
we may have business relations, our object is to 
put in their possession a book which will be con- 
venient for reference, and contain many valuable 
hints in regard to coach painting, as, from our own 
experience, and the authorities from which it ema- 
nates, we think that it may be of material assistance 
in many cases. 

Since the issue of our first edition of the Miscel- 
lanea in 1870, we have received so many compli- 
ments from our friends and patrons in various 
sections of the country, and as we are requested 
frequently to send a copy, we are induced to issue our 
second edition as a compliment to our friends, and the 
trade in general ; also, as a pleasant medium of keeping 
up our relation with the trade so satisfactory in the past. 
We have added a number of hints on painting in 
this little work in addition to those of the previous 
number of 1870. 

We also desire, in the subjoined statement, to give 
a slight sketch of our place of business, which we deem 



no more than justice to ourselves ; for in this exhibit 
we furnish evidence that our facilities for carrying a 
heavy stock of paints and varnishes are not sur- 
passed. Competition is the life of trade, and com- 
petition demands that we bring before the consumer 
evidence of our ability to perform what our adver- 
tisements or our agents assert. 

In speaking of our own, we would not disparage 
other reliable firms, for we are satisfied that individ- 
uals who purchase and use stock in our line will 
judge for themselves as to the good or bad qualities 
of the same. Nor would we assert that whatever 
may be purchased of us will invariably give satisfac- 
tion ; experience having taught us that it is impossi- 
ble to know certainly what may be the nature of 
certain articles, as, for instance, the body and wear- 
ing qualities of some kinds of pigments, or the 
uniform good qualities of our varnishes in the 
estimation of those who may test them under the 
variable temperature of our climate, from the 
blistering heat of the South in summer, to the ex- 
treme cold of the North-west in winter, together with 
the poorly arranged rooms in which a great deal of 
varnish is laid. 

Our place of business is at Nos. 136, ] 38 and 140 
North Fourth street, on the corner of Cherry, 
Philadelphia, where we occupy a building 42 feet 
front on Fourth street, four stories high, running 



back on Cherry street 70 feet to an L, which is 38 
feet loug and five stories high, giving us, on a 
straight line, a depth of 108 feet. At a considera- 
ble outlay, we have arranged for the convenient 
handling of every article on sale, and in the all-im- 
portant article of varnishes have tanks sufficient to 
hold a very large quantity, which allows of one lot 
becoming well ripened while another lot, ready for 
use, is being drawn off. By this arrangement we 
are enabled to furnish a superior article, as near of a 
uniform quality as it is possible to obtain. 

The rooms are heated with hot air, keeping up an 
even temperature, which is very beneficial to all 
varnishes. 

The first floor front is occupied by the salesrooms 
and tanks containing coach varnishe^, &c. Con- 
venient to these tanks are the oil and turpentine 
wells, where, by means of pumps, the contents of 
either well are speedily drawn off in any quantity 
required. The office is in the rear on this floor, and is 
divided into three compartments, each one tastefully 
arranged, and separated in such a manner as to facili- 
tate business. 

In the second, third and fourth stories front, may 
be found a heavy stock of varnishes of different 
kinds, besides numerous bulky articles. The fifth 
story back is used for storing our gums, a large 
amount being kept constantly on hand. « 



The cellar gives us large storage room, besides 
containing the heater, oil and turpentine tanks or 
wellsr 

Our varnish factories are located on the outskirts 
of the city — one exclusively for coach varnish and 
japan, the other for furniture varnish. 

It will be seen, by the above sketch of our prem- 
ises, that we are fully prepared to meet the require- 
ments of a heavy trade. Buying our material in 
large quantities, and having always on hand a heavy 
stock of varnishes, &c., we are fully prepared to com- 
pete with other responsible firm? in this line. 

In the above description of our premises we have 
stated plain facts, for the purpose of affording to 
those who may not visit the city an idea of the prep- 
arations we have made to supply their wants. 

Thanking our numerous friends for their patronage 
during the past, we solicit a continuance of the same. 
Paying especial attention to the wants of the coa^.h 
painter, our stock embraces a full line of everything 
required in the painters' department. 

In conclusion, permit us to add, that should the con- 
tents of this Miscellanea be the means of enlight- 
ening any of the craft of coach painters, and assist them 
in producing more perfect work, our object will have 
been attained. Respectfully, 

FELTON, RAU & SIBLEY. 



FELTON, RAU & SIBLEY'S 

MISCELLANEA, 



THE MANUFACTURE OF VARNISHES AND JAPANS 



•v/ 



EING carried on to a considerable extent in this 
country, it follows that, while there are good 
varnishes to be had, there is also a great deal 
which is next to worthless. 

They are known by so many different titles, that 
to parties using them it is indeed a mystery often to 
ascertain to what they are really adapted. 

High sounding names are often adopted by manu- 
facturers to make their varnishes more popular; but 
common sense teaches that the plainer truth is told, 
the more apt it is to be believed ; and in giving 
varnishes their names, according to the value of the 
gums and materials used, the qualities are more 
readily understood. For instance, we call our best 



coach-body varnish Brilliant Wearing Body, it being 
manufactured of the best and palest Zanzibar gum. 
This is a yerj high grade of varnish, its paleness and 
age being greatly in its favor as a wearing body 
varnish. We have received many letters from parties 
who have used it, and on their statements alone do 
we feel warranted in speaking very positively as to 
its good qualities. 

No. 1 Pale Body being next in quality, &c., &c. 
Our experience in the manufacture of varnLhes, 
and the trade we have e&tablished, justify us in 
saying that, for the quality of our different varnishes. 
we stand second to none. In the first place, they are 
made of the best material ; secondly, we allow no 
stock to go into the market until it has the proper 
age, thereby retaining its luster after beirg applied ; 
thirdly, our Mr. C. F. Kau, who personally superin- 
tends their manufacture, has had nearly thirl y years' 
experience in the business, and has overcome many 
difficulties to which varnishes are subject. We do 
not mean to say that we are the only manufacturers 
of the first-class varnishes, for we are well aware that 
there are others who endeavor and do keep up their 
reputation in this line ; but the public have been so 
often deceived by inferior stock, that they often think 
there is no good stock in the market. This we can 
easily disprove, by giving our varnishes a fair and 
impartial trial. 



9 
BRILLIANT WEARING BODY VARNISH. 

^1 MERICAN energy has finally succeeded in the 
Jji competition of finishing body varnishes over 
^ those of English manufacture, equaling them in 
wear and finish, and being a saving to the trade of 
33 per cent. 

After years of experiments, Messrs. Felton, Rau & 
Sibley have produced a finishing body varnish, 
which they term 

BRILLIANT WEARING BODY VARNISH, 

because of its durability and brilliancy [oi finish. 
They do not offer this as an article of sudden growth, 
it having been subjected to tbe severest test for one 
year past by the most practical coach painters, and 
their unanimous verdict is that it equals the English 
varnish in wear, and has not the faults peculiar to the 
English make. 

We most respectfully offer this varnish to the trade 
as a finishing body varnish ; having full confidence in 
its merits, we deem it worthy of its name, "Brilliant 
Wearing Body Varnish." 



Quick-Drying Putty for Touching up on just 
Before Varnishing. — Whiting and lampblack, 
mixed in japan. Whiting will not stain or wash up 
as readily as dry white lead. 



10 

THE CHAMOIS, 

R, as it is generally termed, the " shammy," is often 
the cause of an imperfect job of varnishing if not 
kept perfectly cl ean and free from grease, caused 
by rinsing in a water bucket used in washing oil and 
dirt from the painter's hands. There should be a clean 
bucket kept for the chamois exclusively. A body wiped 
off with a chamois apparently clean, yet still contain- 
ing some greasy particles, will cause the varnish to 
enamel or draw. The chamois can easily be cleansed 
by laying it out on a piece of board with a smooth 
face, and rubbing it with white curled hair and soap, 
rinsing through two waters ; wring out dry, and the 
skin will again grasp the wet panel effectually, and 
no doubt save worriment in varnishing. 



THE VARNISH ROOM AND ITS CONTENTS. 

fHE varnish room should be, as its name implies, 
a place set apart for varnishing, and not, as is 
J too often the case, a room of all work up to 
within an hour or so of the time a job is to be fin- 
ished. 

The walls should be smoothly plastered or sealed, 
and no paint bench, paint pots, or other articles 
beside those required in the operation of varnishing, 
admitted. Bodies and gearings should be kept sepa- 



11 

rate, for there is no use attempting to obtain a perfect 
finish on a body while there are hands 'tramping 
around the room, as they are compelled to do, while 
varnishing a carriage-part. The brushes, cups, stools, 
dusters, chamois, sponges, buckets, &c., must belong 
to the varnish room and be kept inviolate. 

The room should be light, and yet the windows 
curtained, so that in summer-time the rays of the sun 
may be parried or shut out sufficiently to aid in lower- 
ing the temperature of the room. They should open 
from the top to secure proper ventilation. 

The windows should fit closely, and where a por- 
tion of the room is selected as the cleanest place to 
finish in, the windows within that space may be made 
air-tight by pasting strips of enameled cloth over all 
the joints. They should not be raised unless it may be 
to wash them. Screens for covering the work, when 
finisbed, will also be found very useful, often saving 
a body from unsightly marks made by insects, or 
from dust occasioned by a sudden gust of wind 
which searches out every crevice. 

If possible, there should be n) stove in the varaish 
room, the heat to be obtained by the aid of a drum 
connected with a stove outside. Of course we are 
now speaking of small shops not heated throughout 
with steam. If a stove is used, the fire should be in a 
condition to need no stirring while the varnish is wet. 
In the summer-time it is n^t best to finish with the 



12 

room air-tight when the thermometer indicates 80 
degrees and upward. The air, if quiet, will not 
do as much harm as the melting heat on the varnish. 

The room should be swept the evenirg before 
finishing is to be done, and no person or persons 
allowed to visit it for any purpose, bef)re, during 
or after applying the firishing coat, until it is dry 
enough to be out of the way of dust. 

The painter should dust himself outside the varnish 
room, move cautiously about while varnishing, and 
handle his work so as to cause the least possible 
amount of jarring. 

There is a diversity of opinion as to wetting down 
the floor — there may be good work produced with or 
without doing it. We prefer to have no dampness 
directly under the work, especially in hot weather, 
for we know that it has caused pitting by evaporation. 
If you wet down let it be done thoroughly, so that 
the floor will not throw ofif steam. 

If the preceding hints are fully carried out, and a 
sufficient quanity of varnish is laid on to give it an 
opportunity to flow out, a good clean job will be the 
result. If, on the other hand, you say " what is the 
need of all this painstaking?" and pursue a careless 
and dirty course, your work will speak for itself, and 
continually advertise you as a " botch." 

We are gratified to see the interest manifested of 
late on the subject of varnish rooms, for it depends 



13 

much on their proper arrangement, situation and 
treatment by the painter, that good, clean, finished 
work is produced. 

The Carriage ifonf/%, of Philadelphia, has thrown 
out several hints on this matter, which have had a 
good effect throughout the country in awakening 
employers to the stubborn fact that they must 
provide suitable varnish rooms, or cease complaining 
of the imperfect work coming from the hands of the 
painter, or charging the varnish maker with furnish- 
ing an article that is full of undissolved gum, dirt or 
any other foreign substance. 



VARNISH BRUSHES. 



fHEKE are several kinds of these, and each have 
their admirers. For finishing, there are the 
J Thum's Half Elastic, Clinton's Extra (a very 
superior article), the badger, sable and fitch, all 
flat. These may be used either in rubbing or 
finishing varnish on bodies. Thum's Half Elastic, 
and Clinton's Extra, being better adapted to laying 
on rubbing varnish than the others named, because 
they have spring enough to lay off" the varnish 
without the addition of turpentine. They are to be 
preferred also for finishing, as they take good hold of 



14 

the varnish, spread it more easily, and admit of a 
heavier coat being applied, with less liability lor 
runs. 

The black sable, fitch and badger, are, however, 
very pretty working brushes, and for light work will 
answer a good purpose. 

The oval brush of medium size, is best suited for 
gearings. The tool used may be flat, as it accomo- 
dates itself better to a great many narrow places, 
where it is necessary to wipe out or level off. 

Price of the above from 60 cents to $1 per inch. 

THE CARE OF FINISHING BRUSHES. 

They should be suspended by the handles on wire 
in a closely covered pan, the points to be at least a 
half an inch from the bottom, and not be allowed to 
touch each other. Keep them in slow drying varnish, 
filling the can up to a line about a sixteenth of an 
inch above the bristles or hair. 

The top of the can should have a wire soldered 
along the edge, or the tin turned down to prevent 
injury to the bristles or hair while wiping out the 
varnish, preparatory to putting the brushes into 
use. A sharp edge on the can will gradually split 
the bristles, cause them to curl backward, and 
eventually ruin the brushes. 

Watch the surface of the varnish closely to see that 
it does not skin over ; if it inclines to this, a small 



15 

quantity of raw oil, thoroughly mixed with the 
varnish, will correct the defect. 

Finishing brushes should not be cleansed in 
turpentine except in extreme cases. When taken 
from the can, work them out in varnish, and before 
replacing them, cleanse the handles, and binding 
with turpentine ; wipe them out well and arrange 
them on the wire, being careful not to bend the 
bristles backward in adjusting them. 

The can should be kept in a close cupboard or 
box fitted up for the express purpose, and to prevent 
all misunderstandings, should be locked. Meddlers 
(and too many shops have them) will then be 
taught to keep " hands off." 



CAUSES OF IMPERFECT VARNISHING. 

-» 

flRST. Varnish room admiti^ig dust, cold air, 
and subject to jarring by wood-workeis and 
J others in adjoining rooms. 

2d. By not keeping an even temperature in the 
room whilst and ^after varnishing. The stove at a 
red heat part of the time, and allowing it to cool ofi* 
quickly. 

3d. The[^smoke of bituminous coal, and sulphur 
escaping, it incorporating itself with the varnish 
while applying it, causing a blue, misty appearance. 



16 

4th. By reducing varnish too much with spirits of 
turpentine immediately before applying it; it should be 
used as it comes from the hands of the manufacturer, 
thereby retaining its luster, and being more durable. 

5th. Varnishes not having sufficient age. 

6th. Varnishes being made of inferior gums, 
turpentine, oil, &c. 

7tb. Want of cl^^anliness with brushes, and allow- 
ing cans, &c., containing varnish to remain uncorked, 
admitting dust and other foreign matter. 



^ BLACK LEATHER VARNISH, 

fOR carriage tops, dashes, &c., has been a source 
of anxiety and disappointment very often in 
J producing the required etfect. West's Enamel 
Dressing lately has become the favorite in that line, 
and from the many commendations in its favor, we 
feel justified in referring it to the trade for the above 
purpose. 

f VARNISH PITTING. 

ARNISH pitting and crawling in warm seasons 
may be overcome," said an experienced and suc- 
cessful coach painter, " by placing the cup of 
varnish in ice water until the varnish becomes 
chilled, and then applying it to the job on hand." 
The experiment is so simple that it is worth a trial. 



17 
W REMOVE VARNISH CRACKS. 

X 
QUA AMMONIA applied with a sponge will 
soften varnish, when it may he removed with a 
putty knife or steel scraper made for the purpose. 
The sponge should be fastened to a stick to prevent 
bringing the fingers in contact with the ammonia. 
After the varnish is removed by the ammonia, the 
paint cracks can be leveled with pumice stone. — 
Carriage Monthly. 



FELT VARNISH RUBBER. 



E AVY felt is much superior to old pieces of cloth 
in rubbing down varnish. An old felt hat cut in 
long strips in width to suit, and then rolled 
tightly together and fastened, makes an excellent 
rubber as well as saving the fingers in many instances. 



Rubbing Varnishes. — There has been a great 
difficulty experienced by p winters in getting a rubbing 
varnish to suit their manner in working it. Some 
require a varnish to dry very quickly, and others 
prefer a slower dryer (which we think is the best). 
To meet the respective wants of the craft, we are 
making two qualities, one a quicker working than the 
other. 



18 

JAPAN. 

/]j\NE of the indispensable articles which every 
JIJ painter needs, is a good article of japan dryer. 
y Inferior japan may occasion not only trouble 
and delay in completing a piece of painting, but be 
tbe cause of color cracking before being varnished ; 
or, after the carriage is finished and put into service, 
manifests its inferiority by the paint rising in blisters 
and scaling off, when brought under the action of a 
hot sun. 

By extended experience, which includes, of course, 
the ideas suggested by practical painters, we have 
been enabled to produce an article of very superior 
quality, which we term Extra Coach Japan. It is 
heavy in body and very strong; yet, from the 
nature of the 'ngredients, does not cause the color- 
to work gummy and drag on the brush while being 
applied. 

Having given very special attention to the manu- 
facture of japan, we feel no hesitancy in recommend- 
ing our make to the trade. 

We append a few testimonials received from 
prominent carriage-makers of Philadelphia, whose 
opinion we esteem of more practical value than 
pages of loud-sounding words. We are satisfied 
that all who will give it a fair and impartial trial 
would prefer it to any other make. While it is 
superior in quality it is moderate in price. In order 



19 

to make it the standard japan in every coach shop in 
the country, we offer it at $1.50 per gallon, which, 
considering its quality, makes it the cheapest in the 
market. Be sure and give it a trial. Orders by 
mail carefully and promptly filled. 

TESTIMONIALS. 

We are using the ext7'a coach japan manufactured by Messrs. Felton, 
Eau & Sibley in our factory, and endorse it as a superior article. 

W. D. KOCxERS&CO., 

Pliiladelphia. 

Messrs. Felton, Rau & Sibley, Gentlemen:— You are at liberty to 
use my name as an endorser for your extra coach japan, as I have used it 
in my paint room and have always found it reliable. 

Samuel C. Rodgeks, 
Race street, near Fifteenth. 

I have been using the drying japan manufactured by Messrs. Felton, 
Rau & Sibley, for some time past in my factory, and find it entirely 
satisfactory. My painter says it is the best he has ever used. 

S. W. Jacobs, Carriage-Maker, 
617 Arch st., Philadelphia. 

We are using the japan made by Felton, Rau & Sibley, and take 
pleasure in recommending it to the trade generally as a first quality 
article, having given us the most perfect satisfaction in every respect. 

Gardner & Flemming. 
Philada., Dec. 20th, 1872. 

I have used Felton, Rau & Sibley's extra coach japan in my carriage 
work for the past ten years, and consider it an invalu able dryer. 

D. M. Lane, 
34?2 Market st., Philadelphia. 

We have used Felton, Rau & Sibley's extra coach japan dryer for a 
number of years past, and consider it the best that we have ever used, 
and decline to use any other. 

Fulton, Walker & Co., 
20th and Filbert sts., Philadelphia. 



20 

GROUND COLOR FOR LAKES. 

tHE ground color over which any transparent 
color is to be laid, should be of a tone similar to 
J the color of the lake to be used when "wet up," 
provided you wish to preserve the full richness of the 
lake, and secure its color exactly. Drop, Munich, 
and English purple lake, and others of similar hue, 
may be painted on dark lead coIo7\ Indian red, brown 
of various shades, and black. As these transparent 
colors ])artake more or less of the color of the ground, 
work, it is essential to have the under coatings mixed 
of colors which are durable. 

We know of no ground color superior to brown, 
mixed of Indian red and lampblack. In mixing the 
ground color, it is preferable to have it a shade or two 
darker, rather than lighter than the panel color. 

Lakes painted on black are very deep and rich in 
tone. The ground color should be ground out very 
fine and painted solidly. If this ground-work is 
streaked at all, it will be useless to attempt to make 
a good solid piece of painting. 

One coat of color, and two coats of color and 
varnish, is the best manner of paintiug lakes. — 
Carriage Monthly. 



Paint Mills. — The " Harris Patent '^ is the best 
in the market. 



21 

IVORY BLACK, GROUND IN JAPAN 

JL AS superseded the dry color in most all sections 
^) I of the country; it is really the painters' friend, 
^ saving them hours of laborious work. Felton, 
Rau & Sibley's Ivory Black, ground in their own 
japan, is acknowledged in all shops, where it has been 
used, to be the most satisfactory in use, on account 
of its jet blackness, its fineness and drying proper- 
ties, also being cheaper in price. F. R. & S. could 
furnish many testimonials in Hs favor, but they deem 
a trial more convincing, as all painters desire to be 
their own judges in an article so particular. 



HOW TO GET A VERY RICH SHADE OF BISMARCK. 

^1 FTER sanding the putty, use white lead and 
j\ burnt umber. Next coat burnt sienna, mixed ia 
^ oil stiff, and thinned fit for use with turpentine 
and very little japan ; of this color give two coats. 
Then give glazing coat of Bismarck, mixed as follows : 
to about one ounce best bronze add half ounce 
carmine, or a little le?s of crimson lake. Where the 
color required is very light, use English or Trieste 
vermilion. In mixing, use no japan, but, for dryer, 
sugar of lead. To prevent it curdling, use 
rubbing varnish instead of oil ; but when mixed 
with oil, keep japan out and use sugar of lead. 



22 
VEHICLE FOR MIXING QUICK-DRYING STRIPING. 

it AKE one part rubbing varnish, two parts 
41 , English varnish, and one part turpentine; bottle 
J up, shake it well, and set it away for a few days. 
For all colors except carmine and lake this mixture 
will dry colors almost as rapidly as it is run on, yet 
work freely, which is not the case with japan and 
turpentine. Add to it a little japan for carmine and 
lake. 



TO MIX DEAD OR QUICK-DRYING BLACK, 

Ji AKE two-thirds hard-drying varnish and one- 
41 . third japan; mix stiiF, and use turpentine to thin 
J with. After getting a little accustomed to mixing, 
you can put two coats on a body in one day, or 
stripe a light running-gear in the morning and 
varnish in the afternoon. 



COMPLEMENTARY COLORS. 

HE color required with another, to form white 
light, is called the complementary of that color; 
thus, green is the complementary of red, and vice 
versa; blue of orange, and vice versa; yellow of violet, 
and vice versa, because blue and orange, red and 



23 

green, and yellow and violet, each make up the full 
complement of rays neces-ary to form white or sun 
light. 

In painting an ornament in colors, the observance 
of the above fixed laws will assist the painter in 
producing a pleasing contrast. It is not required 
that vermilion should be juxtaposed with chrome 
green, or sky blue be invariably placed alongside of 
orange, and so on. But, where several different 
colors are employed, they should be modified and 
assisted by observing the laws governing successive 
contrast. 

The effect of placing white near a colored body is 
to heighten that color. Black placed near a color 
tends to lower the tone of the color. Gray increases 
the i>rilliancy and purity of the primary colors, and 
forms harmony of contrast with red, yellow, orange 
and light green. 

Green near black makes it (the black) appear 
rusty, because the eye in looking at green is excited 
to see red, which is added to the black (iasensibly), 
making it appear of a reddish cast. 

Yellow, orange, blue and violet associate much 
better. 

" Experiments prove that yellow color is most 
easily perceived ; the next are orange, green and 
blue ; next red and violet. 

" Dr. Van der Weyde states that in the prismatic 



24 

spectrum, the yellow rays, situated near the middle, 
are the most luminous, while the red and violet 
toward the end are the least so. 

"On the question, why the setting sun looks red, he 
answered, that by the law of refrangibility of the 
different colors contained in white ligh^, the least 
refrangible rays (which are the red and orange), in 
a great depth of any colorless refracting medium, 
penetrate best in a straight direction. The more 
refrangible rays (the violet, blue and green) have a 
stronger tendency to sideway refraction, and this is 
the simple reason of the bright blue of the sky, and 
the dark blue color of water, if pure and of great 
depth. 

" Divers when under water also see the sun red for 
the same reason." — Scientific American. 



THE PREyAILING COLORS FOR 1813. 

jnN heavy work, dark blues, dark greens, rich 
41 J browns, lake and black for bodies, and corres- 
^ pondingly dark colors for the carriage- part, with 
little display in striping. The body to have an initial 
letter, monogram or crest, as fancy may dictate. 
Brown and green satins and morocco being in high 
favor for inside linings, the painting must, in a 
measure, follow these colors. 

On light work the colors are more generally of 



25 



umber-toned drabs, a limited amount of striping, 
yet in bright colors. Dark colors are growing popu- 
lar for light work, some carrying it to the extreme of 
plain black for both body and gear. 



IMITATION BLOOD STONE COLOR. 

J\ HIS looks very rich on light-top or no-top 
41 , wagons. Indian red for ground, then mix one- 
j quarter ounce carmine, and bronze the size of a 
pea, mixed for color and varnish coat, commonly called 
glazing. To apply this properly, do about three 
spokes at a time, same as glazing carmine carriage, 
to prevent streaks or shading. It must be kept well 
stirred while using, as bronze is heavy and settles 
soon. Stripe with gold or silver leaf, say oue- 
quarter inch wide ; no edging. If gold be too 
expensive, use some transparent color of its own 
shade ; it looks very neat. 



OILS. 

fILS are termed fixed and essential. The i^xed 
oils are the linseed, poppy and nut oils. They 
^ contain a large quantity of viscid matter, which 
renders them durable. 

Turpentine is an essential oil, very useful to be 



26 

used as a diluent in tempering and thinning colors, 
varnish, &c., but it is wor(hless to the carriage 
painter to mix his colors in, having no adhesive pro- 
perties. 

Linseed oil is considered the best among the fixed 
or fatty oils. It should be of a pale amber color, 
transparent and limpid. It possesses more strength 
than other oils, dries better, and wears the longest. 

It is not so well adapted to the mixture of light 
and delicate pigments as poppy oil, but for all pur- 
po?es of carriage painting, linseed oil is all that is 
required. 

For ornamenting, a pale drying oil should be 
used. This may be had of any respectable dealer in 
paints, oils and varnishes. A very convenient dry- 
ing oil, for ordinary use in ornamenting and striping, 
may be made by taking one part of good brown tur- 
pentine japan, and three parts of raw linseed oil, to 
be put in a glass bottle, and set at the window where 
the sun will strike it. It will bleach out, settle down, 
and be ready for use in a couple of weeks. 

Fat oil is used as a gold size, to which is added 
chrome yellow, to enable the painter to see his out- 
lines better. The chrome yellow may be dispensed 
with. 

For great durability, no sizing excels fat oil when 
laid on thinly, and allowed at least two days to dry 
before the leaf is laid. 



27 

Boiled oil should not be used by the carriage 

painter, unless it be for mixing striping color, or to 

add to lake, carmine, ultramarine blue, and any 

other transparent color that needs to dry glossy. 

Varnish will answer every purpose, and should boiled 

oil form no part of any color mixed in the shop, its 

absence will not be detrimental to ths wearing of the 
work. 



ON GILDING. 



Jj O lay gold leaf smoothly and dexterously requires 
J I , careful preparation of the surface, a certain 

J consistency in the size, which should be laid on 
evenly, and the manner in which the leaf is handled 
while applying it to the sizing. 

If the surface over which an ornament, lettering 
or scroll pattern is to be laid in gold contains grit or 
roughness from any cause whatsoever, it is evident 
that were the size laid on ever so evenly, the leaf, 
when applied, would partake of that roughness, and 
in the attempt to burnish it, there would be 
liability of rubbing through. 

Use fat oil size for work requiring great durability, 
such as omnibuses and railroad cars. It must be 
laid on thin, and gilded on the second day after. 

For ornamenting and striping on carriages, either 
rubbing or English finishing varnish will be fmnd 



28 

serviceable. They are, however, very treacherous, 
the edges on broad striping often drying before the 
inside, which gives a ragged appearance. This may 
be remedied by adding a few drops of fat oil. For 
hurried work a varnish size must be used ; but 
for first- cla?s work there is nothing equal to fat oil. 

The English method of preparing the color in size, 
which serves as the ground on which the gold is laid, 
is to grind together some red oxide of lead with the 
thickest drying oil that can be procured, and the 
older the better. To make it work freely, it is mixed 
before being used with a little oil of turpentine, till 
it is brought to a proper consistence. 

Size, when too thin, will curdle and run ; when 
too thick, will give heavy edges and diminish the 
brilliancy of the gold. 

The outlining pencil should not be so narrow^ as 
to lay on a heavy edge, which cannot be worked back 
into the body of the letters, or other patterns in hand. 
A short pencil is best to fill in with, as it takes 
hold of the size, spreading it evenly down. 

There are various modes of applying the leaf 
some using the tip (a flat brush made for picking up 
gold); others, again, cut the books into required 
widths, or turn down a leaf of the paper, exposing 
the gold to the width sought, pass the finger-nail 
across and apply it to the size. 

Probably the mo t expeditious manner is to use 



29 

any empty gold book, greasing the leaves slightly, 
which are then to be placed over the gold, rubbed 
gently, and when the leaf adheres, cut it into the sizes 
required. 

If there be any excess of oil on the paper, the leaf 
will not come off without tearing. 

In the use of the tip, mentioned above, the gold is 
laid out on the cushion, cut up with the gold knife as 
required, and with the tip, slightly greased, the gold 
is picked up and laid on. 

On heavy scroll patterns, the book should be 
opened and whole leaves of gold put on, making 
allowance for using up the overlapping parts on the 
smaller places, thus preventing wastage. By this 
means the saving in time overbalances the seeming 
extravagance. 



LAMPBLACK. 



fA^MPBLACK is obtained by burning resinous 
woods ; the soot is collected by means of conical- 
shaped covers, or some other suitable appliance. 
It is of a greenish cast when compared side by side 
with the best drop black. 

On white, straw color, yellow and similar light 
grounds, it, in contrdst, appears black enough, and as 
it covers better and runs smoother, is superior to 
drop or patent black for striping purposes. 



30 



When mixed in oil and exposed to the weather, 
(without being varnished), its power of resistance is 
surprising. 



PENCILS. 

HOW TO MAKE FINE LINE PENCILS. 

HEN you cannot purchase fine liners to suit, 
obtain a lar^e sable pencil, gr*. ase the hairs 
till they adh( le, then cut the quill and remove 
them. 

Take out what will be required for the sized quills 
you may wish to fill, tying with sewing silk. Leave 
the ends of the silk long enough to drop through 
the quill; after being wrapped two or three times 
around the hair, insert it and pull down to its place 
by means of the thread. If you have calculated 
riglrtly, the wrapping will hold the pencil securely. 

Quills from the pigeon's wing are generally used; 
they should be cleaned out, placed in warm water, 
and, when softened, placed on round sticks to give 
them proper shape. 

A very good pencil can be mfde by inserting the 
hair in a stick split at one end, the hair laid in flat, 
and the end bound tig]itly with thread. In case of 
accident to a quill pencil while using it, and having 
no quill handy, this method will occasion but little 
delay. 



31 



ORNAMENTING PENCILS. 



These may be had in quill without handles, or tin- 
bound with handles. Those without handles are in 
goose, duck, crow, and swan quills. 

The sizes are various, suited to the most delicate 
touching, or the larger ornamental work. The best 
are those with handles, tin-bound. For ornamenting, 
both flat and round are necessary. 

Sable pencils are the best and cheapest, although 
they cost more at first. They should be bound in 
tin, with cedar handles. 

Either oil or varnish the handles to prevent paint 
from fastening into the grain of the wood. 

For delicate leafing use the pointed round pencil ; 
for thin and crispy touche?, the flat pencil. 

THE CARE OF PENCILS. 

We dislike to see them placed on the window 
frames, because it is a filthy practice, and then the 
heat of summer and cold of winter does them no 
good, to say nothing of their continual exposure to 
dust. It will cost but little time or money to pro- 
vide a suitable box, with covei , in which to keep 
them ; this should be done by all means. The pen- 
cils to be greased, and laid out straight on a piece of 
glass fitted to the size of the box, and the broad 
stripers kept separate from the fine lining pencils. 
They should be arranged on the glass according to thtir 



- 32 

sizes, placing tlie lesser to the left, and graded up to 
the right ; each pencil having its appropriate place, 
any size required may be instantly removed, or 
should a favorite one be taken, its place is missed 
immediately, and, beside, it is systematic, therefore 
proper. 

In cleaning them it is better to shake them well in 
turpentine, and wipe gently on a soft rag, than to 
merely dampen them by pulling them between the 
fingers, or on any coarse or dirty rag that lies handy. 
The small clippings from the trimming room, which 
are swept off the benches every day, will serve for the 
purpose ; have a box for them, so that you can put 
your hand on them at any moment. 

TO STRAIGHTEN STRIPING PENCILS. 

If, by some mishap, a striper becomes bent out of 
shape, the hair can be straightened again by greasing 
it, and drawing it over a piece of warm iron. A 
favorite pencil may thus be saved to please its pos- 
sessor, by continuing to do good work. 



Pencil Grease that will not Harden in 
Winter. — Try out some beef tallow, adding a small 
quantity of sweet oil. This will be found a great 
convenience to the painter in cold weather. By the 
use of hard grease the hairs are often pulled out, and, 
aside from this, it is very inconvenient. 



33 

PUMICE STONE. 

N the selection of lump pumice stone, preference 
should be given to that which is light and porous. 
Economy in its use requires that it be sawed up 
into pieces best suited to surfaces to be rubbed. 

The smaller pieces that may crumble off while 
sawing it, lay away in a box kept for the purpose, and 
at some future time, when considerable has gathered, 
grind it fine enough for rubbing down varnish. The 
hard, flinty pieces may all be used up in the same 
manner. 

Saw it across the grain, shape it on a file, and 
round off the rough parts to prevent the sharp edges 
from wearing the fingers. The face may be kept 
clean and level by use of the file or a piece of coarse 
English rubbing stone. 

English rubbing stone is now preferred, as it fur- 
nishes its own grit, and cuts more rapidly. It is a 
good plan to do the main rubbing with English stone, 
then complete the work with carefully selected pum- 
ice stone. 

For cutting down old work, the use of rubbing 
stone will be found the most economical When 
not in use, it should be kept in a damp place. 
It is very irregular in iorm, but by sawing all around 
to the size and shape required, it will break pretty 
evenly. A level face may be obtained by use of a 
file or a level piece of stone. 



34 

TRANSFER ORNAMENTING. 

( 4 III IRST, let it be understood, that all pictures that 
show the colors complete, are ouly suitable for 
white or very light-colored brown ; those that 
are covered with a white grounding, gold, metal or 
silver leaf can be used on any color, light or dark. 
After getting the work ready for ornamenting, give it a 
smooth thin coat of some quick-drying copal varnish, 
thinned with turpentine, being careful not to go 
beyond the outline of the design. Allow it to dry 
until it has a good tack, and put on the work in its 
proper place. Roll it smooth with an India rubber 
roller, or smooth it with a paper-folder, until every 
part adheres well. (For very large pieces, it is well 
to lay them after they have the right tack, between 
two sheets of damp blotting-paper. It will stretch the 
paper and make a smooth transfer.) Now, wet the 
paper, smoothing it down at the same time, until it 
has absorbed all the water possible ; leave it about a 
minute and pull off the paper carefully. Should any 
parts of the design still adhere to the paper, press it 
down again, wet-rub it until it separates easily. 

After having removed the paper, press the design 
on well, and wash and dry it off. Should any blis- 
ters appear, prick them with a pin and press down. 
In a few hours the design may be varnished, which 
will increase the brilliancy of the colors." 



35 

STRIPING SPOKES. 

HEN the stripes are to be carried from the 
hub to the felloe, each stripe will have a lap 
on it ; for the stripe must be started from two 
different points, viz.: from the hub upward and 
the felloe downward. If they are all drawn from 
the hub to within a certain distance of the felloe, 
when the wheels are finished, the laps, if not per- 
fectly executed, will present a continuous defect 
around the wheel at those points. 

To obviate this, join the stripes at irregular dis- 
tances from the felloe, or stripe from the hub and 
felloe alternately. 

When the face of the spokes also require to be 
striped, take your position to the left side of the 
wheel and run on all the stripes on that side ; next 
do the fionts, and then the remaining side of the 
spoke^ Should you reverse this order, the stripe on 
the front or face of spokes would be wiped off or 
blurred in the act of striping the second side of the 
spokes. 



Gold Dust. — Gold dust for striping is much 
preferable to bronze, as it produces a more finished 
effect, and wears better. It is applied the same as 
bronze ; it can be purchased in all large cities, it comes 
in small packages containing one divt. 



36 

REMOVING OLD PAINT. 

Jl HE Wakeman Patent Burner for removing old 
\\ , paint has been used very successfully the past 
J two years, principally among hou=e painters ; 
recently coach painters have adopted it especially for 
cleaning off large work, such as coaches, cars, 
omnibuses, &c. It consists of a lamp inclosed, 
throwing a strong flame from a small pipe ; the 
flame is generated from alcohol, similar to the ex- 
haust of steam. They are perfectly safe to use. 
The directions accompanies the burner. 



ROUGH-STUFF OR FILLING. 

jifREXCH Umber has met with success on account 

ir of its cheapness and easy rubbing qualities, and 

] thus far it has stood the test of wear very well. 

Tully's Patent Filling has also become a general 

favorite on account of its fineness of surface, and it 

being already ground and prepared for use, painters 

find it very convenient, and always uniform for fine 

work. It is without doubt the best filling in use. 



Lump Pumice Stone may be kept clean and 
sharp, by rubbing it occasionally on a piece of 
English rubbing stone. — Carriage Monthly. 



37 

PAINTERS' COLIC. 

jT OR the benefit of those who may be aftected bv 
If that much dreaded disease, we give the following 
] recipe. During ten years I have not found a 
single case it did not cure : 

Iodine of potassium, . . ^ oz. 

Water, 4 " 

Mix and take one teacpoonful in a little water 
three times a day immediately after meals until all 
pain is gone. If it causes a burning sensation in the 
stomach diminish the dose. The principal on which 
it acts is, the iodide neutralizes the poison of the 
paint, and carries it out of the system. — Carriage 
Moiiihly. 



WHITE LEAD. 

n Tj HITE lead, no matter how pure, if not suffi- 
A\\ ciently aged, will not produce as good an 
'Jj effect as the same article after beins: kept three 
or four months on hand and then being used, tbe 
demand being so large that manufacturers are 
generally compelled to put it in the market before 
being sufficiently ripened. 



Ivory black is made from ivory shavings burnt 
to a black coal in a crucible stopped up, and after- 
ward ground very fine. 



38 

Quick-Striping Color — Eequires shorter pen- 
cils than those used in oil color. 



MiLORi Green. — A very fine and )»rilliant color 
for striping and ornamental work, it being the best 
known for that purpose. 

Tuscan Red. — A color lately introduced, meets 
with much favor, its color similar to drop lake, and 
its strength equal to Indian rerl. 



Bronzes. — In Germany, mica has recently found 
application for the production of bronze — like colors 
which bears the names of " brocades, crystal colors," 
and "mica bronzes." 



To Mix Lampblack so as to put on One 
Coat a Day. — Mix one-fifth drying japan, two- 
fifths oil, and two-fifths turpentine. This will require 
varnishing to give a gloss. 



Lettering should be charged for by the foot, 
running measure. 

Lettering in colors, per foot, - 20 to 50 cts. 

Gold, per foot, - - - - 50 to $1.00 

Ornamenting. — Lanscape, figures, fruit, &c., 
from $1.00 to 10.00 



39 

English Filling, Philadelphia Method. — 
Take 5 lbs. filling, dry^ mix with turpentine on stone, 
add Ih. pints japan, 3 gills oil, 3 lbs. pure white lead, 
3 gills varnish (rubbing). Apply two coats a day. 



Quick or Hard-drying Putty. — Use dry white 
lead, mixing two-thirds quick-drying varnish and one- 
third japan, using a little turpentine. This putty 
can be kept any length of time in water ready for 
use. 

For Coating Wood with a Substance Hard 
AS Stone. — Forty parts of chalk, fifty of resin and 
four of linseed oil, melted together ; to this should 
be added one part of oxyd of copper, and afterward 
one part of sulphuric acid. This last ingredient 
must be added carefully. 

The mixture, while hot, must lie applied with a 
brush. 

Fine Gold Bronze. — By using the best quality 
of bronze a very good imitation of a gold stripe may 
be produced, without the necessity of laying on a 
size. The bronze can be mixed in varnish, boiled 
oil, or raw oil and japan. 

It should be used from a small vessel, so that it 
may be stirred occasionally, as the bronze will have 
a tendency to settle down to the bottom. Purchase 
the finest quality. 



40 

Jonquil Yellow. — Cremnitz, flake or china 
white, lemon chrome, and a small portion of 
vermilion or carmine. 

The jonquil is a species of daffodil, a plant having 
a yellow flower. 



Sponge. — Are you aware that the sponge you are 
using from day to day is pinned together with me- 
tallic pins, similar in form to those used at the toilet ? 
The microscope proves this to be true. 

A body sponge should not be used on a gearing, 
and vice versa. 



Putty that will bear Leveling with Pum- 
ice Stone. — Dry white lead, mixed in hard-drying 
rubbing varnish. It should stand two days. It will 
not sand-paper smoothly, being more apt to tear out. 
For bruised places, on a job that has been brought 
to a surface, it is indispensable. It should be kept 
under water. 



Soft Putty that will not require Sand- 
papering. — Take one part whiting to three of lamp- 
black ; mix in oil. It is useful at times in puttying 
irons that do not fit closely to the body, and serves to 
keep pumice stone and water from enter'ng, thus 
saving time, labor, and, it may be, the mortification of 
having a job spoiled. 



41 
PAINTS AND VARNISHES. 

E append a few leading articles from our price 
list in " Thf Carriage Monthly, ^^ which we cor. 
rect each month. This, of course, doi.'S not 
include our full stock, and it would be impossible to 
go into detail without furnishing a separate catalogue 
of the same. 

Prices for the following list will be found in " The 
Carriage Monthly'^ to which we would refer our 
patrons, as it is revised and corrected by us each 
month. 

VARNISHES —Brilliant wearing^ body; finishing body, ex. pale; fin- 
ishing body, No. 1, pale ; finishing body. No. 1, hard drying; car- 
riage, No. 1, light color; carriage, No. 2; rubbing light color; mining 
or color ; Harland & Son's English ; Noble & Hoar's English ; black 
enamel English for carriage tops; black enamel American for carriage 
tops ; West's enamel dressing for carriage tops and dashes ; Black 
body varnish. 

PIOTROWSKI'S PERMANENT WOOD FILLING. 

PAINTS. — Black — Raven's wing drop; refined English drop; No. 1 
English drop; ivory, drop black in japan; No. 1 pat. drop; Eddy's 
refined lamp ; extra coach painters' lamp ; refined coach painters' 
lamp ; Germantown. 

Blues. — Pure Chinese ; No. 1 Prussian ; No. 2 Prussian ; Ultramarine, 
No. 0; No. 1; B; celestial. 

Greens. — Malori green, three shades ; pure chrome, L. M. & D. 
shades ; extra dark ; bronze or quaker ; pure emerald ; pure Paris ; 
Brunswick. 

Reds.— Best carmine No. 40 ; Victoria lake ; Florentine do. ; Supr. Rose 
do.; English purple do.; Mauve do.; Vienna do.; Red Brown do.; 
violet do. ; fine crimson or claret lake ; chatamuck or carmine lake ; 
rose lake; best rose pink; pure Indian red: Tuscan red; Vermil- 
ions—English pale ; deep ; Gergoth. pale ; deep ; Chinese ; Trieste ; 
Italian ; American ; Eng. Ven. ; red lead. 

Whites.— Pure lead; Colorado lead; Nevada; Dakota; Cremnitz for 
striping; whiting; pure dry lead. 

Yellows.— Pure chrome, L. M . & D. shades ; Orange do. ; Bradon ; 
French ochre; Eng. stone ochre; Eng. chrome ; French do. 



42 

IVOEY BL\CK IN JAPAN, a very superior article, ground by Felton, 
Rau & SiBf.EY and highly endorsed by the trade. 

SUPERIOR WET COLORS, (Masury's).— Superfine ivory drop black, in 
oil; do in japan; orange chrome; coach painters' dark green; 
lemon chrome; fine drop l)lack, in oil; Indian red; pure Prussian 
blue; coach painters' medium green; golden ochre; deep orange 
chrome ; coach painters' light green ; me lium chrome; Italian burnt 
sienna; burnt Turkey umber; Italian raw sienna; genuine Vandyke 
brown; raw Turkey umber; royal red; silver white; sup. scarlet 
lake, C. ; sup English purple do. ; sup. English crimson do. ; sup. 
Munich do B. ; sup. carmine do. B. ; sup. crimson do. B. ; English 
vermilion ; No. 40 carmine ; lakes in ^ cans 

MISCELLANEOUS. — Extra flint or sand paper; sup. Irish glue, very 
strong; Buffalo glue ; broid scraping or body knives ; dryin.? japan ; 
turpentine; Jinseed oil; English tilling; English rubbing stone, 
pumice stone, ground ani lump selected; extra fine gold striping 
bronze ; chamois ; French umber (equal to English filling) ; Tully's 
Patent Filling. 

BRUSHES. 

Paint.— 0; 00; 000; 0000. Varnish— 0; 00; 000; 0000; Badger hair 
flowing ; Fitch do. ; camel's hair striping pencils; saVjle do 

BEST PAINT MILLS.— Large and .small. 



FELTON. RAU & SIBI. 



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